Interview with filmmaker Rose Troche, gender inequality talk

Outro Music The whole way long. Say ow. Ow. Ow. I stepped on a tack. Say ow. Hey, yo, check it. Check it. It's Thursday night. You apparently forgot to set the clock. You were late for work. You got fired. You don't have a motherfucking thing in your refrigerator. But you paid your internet bill. And you got your shit tuned in to skidrowstudios.com. And you're listening live to the Nestorius. Public radio show. I'm your host, Nestor Rodriguez. And we're going to have a fun time. We're going to be talking about, well, we have a beautiful in-house guest. Rose Troche. Hello. Is that how I pronounce your name? Rose Troche. I mean, it is Troche. Troche. Troche. All right. Sounds cool. Rose Troche. No, Troche is better. Except that people will call me Troche or something like that. Troche. Troche. Anyway, to my left is Rich Corbin. What's up, everybody? And to Rose. Rose's right is the incomparable Mrs. Rosemary Rodriguez, the director, producer, wife, interior decorator extraordinaire. Nice. I didn't know the interior decorator. Oh, yeah. I didn't either. Oh, yeah. Oh, yeah. Oh, yeah. She don't play. I want that credit. She don't play. So that's cool. Rose Troche. So I didn't know you were Puerto Rican. For some reason, I thought maybe you were like. Jewish. Well, yeah, Jewish. Yeah. But that's what happens when you. No, when you get Puerto Rican. Yeah. Yeah. Well, in New York. Yeah. Well, because because when you're Puerto Rican and in the Bronx. Right. And you speak perfect English. Then you people think you're Jewish. Yeah. That's exactly. Sotomayor. What's her name? Yeah. What's her or the the the justice that was nominated by Obama? What's her first name? Is it Rose Sotomayor? No. No, it's. Oh, my God. Oh, my God. That's so embarrassing. You're already making us look like shit. And she's from Chicago, which is where I was born. Two women. And they don't even know, like, one of their big fucking leaders, a Puerto Rican bitch. All right. All right. All right. All right. All right. All right. I just know her. I think her name is Sarah Sotomayor. No. No. Anyway. Anyway. Anyway, it doesn't matter. It really doesn't matter. We'll get that. Of course it matters. The beautiful thing about Nestorius Public Radio is that we say things we don't even know what the fuck we're talking about. And it works. This shit works. Anyway. So Rose Troche. The reason I was saying is because Rose was born in Puerto Rico. So most people call her Rose Troche. Right. I actually. No, you were born in Chicago. Sonia. Sonia. Sonia. Sonia. Sonia. Sonia. That's Jenny. Jenny's always. Jenny's always on the ball. Jenny. Big up. Big up for Jenny the controller. What's up, mama? I was not. My parents were born in Puerto Rico. So I guess I should be calling myself Puerto Rico. So you were born in Chi-town. I was born in Chi-town. Oh, okay. All right. All right. With all two other Puerto Ricans. But most people call you Rose Troche. Yes. And it's Troche. Got it. Anyway. So Rose. Rose is a pretty established. Just leave it there. No, no, no. A pretty, pretty, but also a pretty established filmmaker. I'm going to go back to 94 when you did Go Fish. When I was 12, yeah. Yeah, when you were 12. When you did Go Fish, which was a trendsetting, impactful. I hate saying. I hate when people say lesbian film or black film or Spanish film. But everything in the arts has to be categorized and labeled, right? Yeah. But you did the first notable, I guess, film that portrayed lesbians in a realistic way. Yeah? Well, I'm not. No. There were films. It will be said that it was the first, but it wasn't the first. So you don't want to take the credit? No, because there were films before. Like? Exactly. That's what I'm talking about. That's exactly what I'm talking about. I mean, you big up. Big up for all your films. I'm talking about the films that come before Go Fish. But yet, nobody knows what the fuck it is, man. I get you. No, it was Desert Hearts. There was like. Desert Hearts. Where was that? That was a movie by Donna Deitch. It was a great movie. I get it. I love her and I'm glad she did it. But that shit sounds like a Midwestern cinema. Like a coffee house. Desert cinema. What is it called? It kind of was. Desert Hearts. Desert Hearts. It was a good film. Yeah. It was a good film. I didn't see it. It was a good film. But it wasn't Go Fish. Yeah. Well, I mean. Okay. Okay. Okay. Okay. Okay. Okay. Okay. So it was much more confident than Go Fish. So then why. Go Fish I think was a movie that sort of more than a lesbian film. I think it was a DIY film that launched a thousand DIY movies. DIY? Back in the early 90s. Yeah. It was just like if that movie made money, I'm going to make a movie in my garage. If that spick lesbian can direct, I can sure make three burgers and sell them. It launched a thousand. Okay. Like, you know. Okay. What was it? What was it? Well, let's start from there then. That's great. So you just said that there were other lesbian films, but yours wasn't the first. Okay. But then why was Go Fish such a big deal when it came out? You know, no one can answer that question really. And I don't really. I think every movie is about hitting something at a time and a place. And it's out of your control. I wasn't. We weren't making that film thinking. Oh, and now there's such a, there's a, there's such a, um, at the moment filmmaking is so different, right? Because, yeah, because you're constantly looking at who your audience is. You're, you're looking exactly at who you're going to target. You're trying to see how you can market, how you can do the bank or whatever. Like years before you even start your project, you're just, you're starting to get your audience, right? Right. Right. With that, we weren't. So it was really like, who would have known that, that, that like, you know, the lesbian movie that you thought, I mean, I shot that thing on 16 millimeter thinking I would never blow up. Wow. So, you know, we didn't even frame it for to blow up to 35. It was out of focus and everything. And so people were like that. Oh, that was the way it was supposed to be. No, I would be like super close up. Man, is that the way lesbians look in reality? Like super close up. Man, the ones I've seen on, on the history channel don't look like that. So, you know, but it was, it was a certain moment in time. It just depends on who sees it, right? Yeah. And it was really like, it was a very successful film. Yes, it was. A very successful independent film. Yes, it was. It made like 200 times what we made it for. Which is unbelievable. Yeah. Yeah. And it did. And it, and it was really, it was really, it was really, it was really, it was really, it was really, it was really, it was really, it was really, it was really, it was really, it was really, it was really, it was really, it was really, it was really, it was really released in a whole bunch of countries. Okay. And like I traveled all over the world and it was like, it was a crazy experience. And you still were traveling all over the world. I am still traveling all over the world. So, okay. So, okay. So, so, okay. So your movie, so your movie was very successful and made about 200 times what you made it for, which is a huge statement. When you make it for two cents. You're damn right. Well, when you're making an independent film, it's all relative, right? When you're doing it yourself, meaning you're getting your own money. I mean, we just went through the same process. You know, people say, why would you use your own money? It's like, well, if we didn't, if you didn't use your own money, you'd be mooching off of somebody to get you high on somebody's couch and you'd still be talking about go fish. It was no Kickstarter then. So, you know, there was no, it was really like, you know. But even at the, at the end of the day, people get things done because they get things done. Yeah. Not because you're sitting at home hoping that somebody's going to, I mean, okay. So it made 200 times what you put in there, right? Yeah. So then, so then we can, so then we can take that and say, all right, well, that D, D-Y-I, right? Right. Do it. D-I-Y. Sorry. Do it yourself. I did a show on, on Home and Garden TV that was a do it yourself show. So I'm like, anyway. So that was the D, D-I-Y that basically said, wow, if she could do that because it was so successful, that's really the deal. Yeah. Because it was so successful. It was so successful. Then we can do that. But also you opened up the door. You, you cracked it open also for not just women filmmakers, but let's say the gay cinema, because after that film, there was, there was a lot more like, you know, gay, you know, themed movies. Well, B. Ruby Rich had, had prior to, to, to Go Fish coming out, B. Ruby Rich had, had sort of categorized it as new queer cinema. New queer, right? Yeah. New queer cinema. And, and it's, and it's like, I don't know. I mean, it was like the 20th anniversary of that. And that was like Todd Haynes with Safe and it was Tom Kalin with Swoon. Right, right. And, and, and, and Greg Araki with The Living End. And, and, you know, there were a bunch of filmmakers who were making work at that time. And so I was just one in a line of those, you know, and I was kind of, I came in like a little bit later, but certainly I think that, you know, that it was a moment of independent filmmaking as well. I mean, Clerks came out that same year. And, and. Kevin Smith. Kevin Smith, y'all. Yeah. Who made the film for like, also made a film for like, yeah, the same amount of money kind of we made the film for. We sold to Goldwyn. They sold to, you know, the next night they sold to Miramax. Yeah. And it was. He blew the fuck up though. Yeah. And it launched, yeah, it launched both careers. Jay and Silent Bob. Yeah. Yeah. And Kevin Smith has a. In a very big way. Yeah. But, you know, but that's like, that was, it was a particular kind of independent film that I think, that I think then kind of disappeared and then now is sort of coming back again. Right. This sort of very kind of like, let's do it ourselves. Let's make it firm. So how did that, how did that, after that film and that experience and then being a part of that group of filmmakers then went on, what went on after that? Right. I think what happened is that what we saw in independent filmmaking is that there were a bunch of companies like, like, you know, Fox had a, had an independent division. Universal had an independent, Paramount had an independent division. And we saw over the years, all of those things shut down. Right. And then suddenly there became this huge disparity where, where independent film started to become 50. And then with technology now with, with the changes in technology and sort of, and sort of it opening up, allowing a lot of people. I meant with you specifically though. Oh me. No, no, but that's, but that's cool. Finish that thought. But you're saying, you're saying that technology came out. Technology allowed us to like, and a lot of people just shoot our own films. Now that allows a lot of people to just take a fucking camera and just do it yourself and videotape it. You can shoot something with a red epic and like, and like Christmas lights. Right. And it'll look beautiful. So it's recycling that DIY mentality. We're back to, we're back to the, we're back to the, we're back to the, we're back to the We're back to making films for the same amount of money. And we were talking about this earlier. Right. Right. For almost the same amount of money we did almost 20 years ago. Right. Or 15 years ago. Right. Because now we, we have that technology. Well, well. Well, you, you know. And people do a lot of, a lot more things all themselves. I mean. They produce, edit, write, direct. That same thing. I mean, I mean, you look, you look at, you, you look at YouTube, you look at all these, all these internet, social media platforms where people are doing things. Very small time, meaning small content and just shit blowing up and people becoming famous and rich. All for stupid shit. So, I mean, I mean, I mean, stupid. I'm looking for my stupid. Whoa, whoa, whoa. When I say, when I say stupid, you know, for those of you out there, I'm not talking about you specifically. I'm talking about stupid in a subjective way. Like, you know, for most people it would be meaningless, but for our, for a certain generation, the current generation is brilliant. Right. You know what I mean? But, so what Rosemary was asking, so after that success, you went on to what? You, you got into television? Well, I did, I did, I did kind of what a lot of people. Right. I think the dream used to be that what would happen is that you would make an independent film for a little bit of money. Then your next film would be more money. And then your film after that would be more money and so on and so on. More money, more money, more money. More problems. And, and so, and so that's, that's, and that is what happened. I made my second movie for like, it was like 2.5 million, a movie called Bedrooms and Hallways, which I did in London. Bedrooms and Hallways. Yeah. Bedrooms and Hallways. And then I did Safety of Objects. Those are both your films. Yeah. In 2001. In 2001, which I. You directed both of those with your own money or you had some help with some people? No, no, no. Those were not my own money because Safety of Objects was an $8 million movie. Right, right, right, right. And, and so that was. Well, you know, Puerto Ricans can make a little, you know, some, some, you know, magically delicious cheddar. Well, no. And then that's when you get into like, if you're a woman and you don't make your money back, you ain't going to see any, you're not going to be, you know, people are not going to be lining up. Well, we're going to get into that. You're not allowed to fail. Well, we're going to get into that. We're going to, we're going to get into that shortly about the higher expectations that women to make more money or be more successful because they're getting, you know, I don't know if I want to give you a woman, let alone you a woman, but you a lesbian woman, money to do my next film. I don't know if I can trust you. You know what I mean? And I was reading this, I was reading this article and basically this, the, the, the subtext, the, the, the subconscious thing is that I'm only comfortable giving somebody who looks like me. Money to do a film and the film industry. You're a little too brown to give money to. Well, well, that's what I'm saying. And the film industry, the film industry is mostly white men. So anyway, that's, that, that was one of the reasons. It's getting a little bit more diverse, but it's getting diverse in the independent sense of, of where we're at right now. I mean, I mean, it is really like it, we are seeing a moment where there's a lot of people being allowed to make films again because we can make them at a lower price point. And that's, and that's where you see a lot of diversity in filmmaking. Yes. And of course at the top, you don't. Right. The minute you get higher and higher in budget, the more you're going to see less and less diversity in, in, in, in the faces of the directors. So you made, so you made a couple of films after Go Fish. And then what year are we now? 2001? 2001. And then I did, I did Six Feet Under at that time. I decided. One of my favorite shows, Six Feet Under. That's a, that was a fucking great show. Yeah, it was. And I, and I, you know, it was really like, I kind of. Alan, Alan Bell, right? Alan Ball. Alan Ball. Yeah. I realized that I had, you know, like, like I was like at my third film. Um, uh, sort of a decade had passed and I was just like, oh, I should really be directing more. So I wanted to do sort of hour long quality, um, television. And then shortly after doing Six Feet Under, um, as safety was, was about to come out, I was offered, um, the pilot for The L Word. Right. And then, and then did that and then was in that for sort of like, almost like a decade. You did The L Word for 10 years? Well, I did the pilot. So I did the pilot for The L Word. I also did the pilot for a show called South of Nowhere. Uh-huh. Uh-huh. Uh-huh. Uh-huh. And then I was on The N Network for four seasons. The N Network? Yeah, The N Network. What is that? For black people? No. That's like an old black network before Oprah. Oh, Nickelodeon. It's like the, it's like the, you know. Well, I figured The L Word was like, you know, quote, and The N Word was like The N Network. It's like, yo, brothers, how you doing? You ain't got no time for no white shit. Well, tune in this week. Anyway, go ahead. You know. So, so The N Network. I never heard of The N Network. Yeah. It's a good part. Yeah. Interesting. So, Nickelodeon. So, what were you doing? Children's content? No, it was another, it was another thing about sexuality. Like, girl. Really? Like, you know, kids in high school. Really? And these two girls who were like, kind of fell in love and. Again, again with the, with the, with the lesbian thing. Again with the, again with that old chestnut. Okay. No, no, that's all right. That's all right. It's very hard for me to be on Christian Mingle now because of all of this stuff. It's very difficult. My profile is really compromised. But hold on. But hold on. But that's awesome. Let me tell you something. Let me tell you something. People complain about niches, right? Whether you're a comedian, whether you're an artist, whether you're an actor, right? And I think that, I think that part of life is knowing who you are, right? Yeah. Once you know who you are and you're cool with who you are, then you, you are who you are wherever you go. Wow. And so, and, and you have to know who you are in order to fit in, if that makes sense. A Christian who wants to mingle. You know what I mean? Yeah, exactly. But, no, so I, I think that's awesome. So, L word. So, most people don't know directing the pilot for any show means. It means that you are, it's a great job to have because it's, you're kind of setting the look for the show. You're setting the tone for the show. You're casting, you know, you're casting the show. It's basically like making a. It means a lot of motherfucking money is what it means. That's what it means. It depends who you do it for. It means you got cheddar for weeks. You got some, you know, you get some, you get some extra cheddar. It means when the welfare truck comes out. Yeah. And they're giving out a lot of blocks of cheese. Yeah. You're like, no. That's all good. I got some. That's not nacho cheese. That's your cheese. Yeah. Yeah. Yeah. So, you got your shit. Yo, for those. For those. My grandma used to get that. We used to fight over that. Yeah. Yeah. Yeah. Used to fight over chunks of that cheese. Blocked cheese. Blocked cheese. Why does Uncle Hector get some and we don't get any? Right. Right. Yeah. They used to give you a block of fucking cheese that was like three pounds. You could knock someone out with it. First of all, most refrigerators back in the 70s couldn't hold three pounds of fucking cheese. And you're not going to eat three pounds of cheese in like a month, which is, which is stretching. That's why you split it with the family. Split it with the family. That's right. My grandma used to be like, it depends how good you were to her. Mm-hmm. If she give you like a chunk of cheese. Right. Right. Right. Right. Esos pasteles. Right. What you mean you want sandwich? Tenemos grilled cheese. This week, grilled cheese con arroz y habichuela. Grilled cheese para desayuno. Grilled cheese para almuerzo. Grilled cheese para. I don't even know what we used it for because we didn't make no grilled cheese. Yeah. So, I don't know what, I don't know where that comes from. And fucking people didn't eat tacos at that time. So, you couldn't even shred it, right? I mean, it wasn't like Mexican culture. Yeah, we're Rican, so we don't do tacos. But I'm curious because you have like the one type of movie or maybe you're put in this kind of niche. Mm-hmm. But then beyond that, your story. Oh, I'm fully in the niche. You're a storyteller. Mm-hmm. So, there's still different types of stories that appeal to you or that you're drawn into. So, with your first film, Go Fish, and then the other films, and then L Word, is there a connection like thematically to something? Something that draws you in? I think the films were definitely kind of where I was at at that moment in my life, in every one of them. I think with Go Fish, that was like, you know, Go Fish really kind of came out of activism. I was in Act Up. I was in Queer Nation. We would just go and get arrested. What's the second one? Queer Nation. Queer Nation. Queer Nation. And we would do like Kissings and Lesbian Visibility, and that all came out of that. And a lot of people who worked on that were activists themselves, and that came directly out of that world. And then by the time I made Veterans in Hallways, I was in Queer Nation. I was really sort of in a moment of like, why do we define ourselves so much by our sexuality? It's so ridiculous to put each other in boxes. When you say, why do we define, meaning the homosexual community? No, I mean all of us. People. I mean all of us. I mean, actually, heterosexuals even more, because they're almost more staunchly in a box than we are. Really? Yeah. Explain that. I think a lot of gay people have had a lot of different kinds of sex. I mean, that's not every, that's an overgeneralization. Perhaps I should speak for myself. But, you know, like I- When you say you're comparing heterosexual couples- We're going on this tangent. To, to- No, no, I find it- I was just trying to say that- Hold it, I find it interesting. As far as open experiences go, that some people are more open, or maybe open-mindedness does not fall on maybe straight men. Yeah, but how do you get from, why do we have to be defined in terms of our sexuality? You know what, maybe I'll just bring it back to me. At that moment in my life, I was just like, I don't know where I'm going to fall. I don't know if I'm going to be- Yeah. Human men? Women? I don't know. Right. And that had to do- And I don't- Got it. I don't particularly like the fact that if you, if you're someone who defines yourself in a particular way, if you have sex with the opposite or the same sex, does it necessarily define you as that thing? Got it. Does it suddenly erase all of your- If you're, if you define yourself as lesbian and you, you, you know, fuck a guy, does that suddenly make you straight? I don't think so. And the Christians are up your ass going, wait a minute, wait a minute, you're fucking with me. It immediately changed, you know. People can't switch that fast. They're like, whoa, whoa, whoa, wait a minute. Right, right, right. Wait a minute. Hold on. Wait a minute. It's a more, it's a more fluid thing. You're not allowed to do that. Right, right, right. So at that moment in my life, I was into that. Got you. You know, I was like, I was like, okay, so this film is sort of contemplating that. Got you. And then with, with Safety of Objects, you know, I was, I was like, I was like, what are things and why do things define us and why are we so attached to this, you know, to this stuff? Right. And so that was kind of a lot of the questions that I was asking myself, you know, like, Right. how do you kind of go as you get older and people expect that you have to collect things and have a house and a car and blah, blah. And if you don't, something's wrong with you, you feel inadequate. Right. And you should just shoot yourself. Yeah. And, and the fact that those things are very empty, a very empty way to sort of define yourself. So everything's really been about a moment in time and the things that I'm working on now are, are, are very much the same thing. So it's sort of been where my, where whatever sort of my life has led me. And I, it's interesting because I, I, you know, I was asking, I knew earlier about your film now and like kind of where the, where the idea for, for your newest film came from. And, and, and cause I find that, I find it very interesting. We're talking about Silver Skies, a movie about over 55 apartment complex. Yeah. I mean, I think that there's always like characters and stuff that I want to do or in TV episodes that I do that I'll latch onto characters that represent people I know or relationships I'm trying to work out. But overall, I think, you know, for me, it's always trying to, it's not really expressing my voice, although it is cause I'm a director, but it's also trying to give groups of people a voice that I think feel like don't have one in society. So I always want to portray characters like that. Yeah. And you did that with your first film as well. Yeah. You know. Acts of worship. That's what I hope to keep doing. Yeah. Cause I feel like we all get limited in what we see and what we see on screen. Right. Yeah. You can definitely see that in your two, in your two films. Right. Like you can definitely see that, that it's not, you know, it's not, um, you know, it's not, um, you're not, you're not, you're not, your characters are not cookie cutter, you know? Um, they definitely have surprises and, and the plot, like the twist in the plot, you know, um, things that are unexpected that make, you know, they're just like, there's such sort of harsh realities at the same time, you know, there's this humor and there's this like, I mean, in Silver Skies, especially, I mean, you know, like, like it's, it's got the, these, these lovely turns and then it has like this reality to the whole thing where it's just like, you know, it ain't. It's not easy getting older. Yeah. I think that's important in life. I mean, you know, I was, I was watching, uh, last night, like, uh, TiVo of Dr. Oz and we were talking about, cause he was talking about people. He did like a poll of like 3000 people, right? Mostly women, but like what, what defines happiness for them? And he was talking about, he was talking about social media and how we portray ourselves on social media and how we portray ourselves as like perfect and happy. We only put pictures where we look. We're not really good. And it's always like, Hey, I just gave birth or Hey, look at the food I'm eating or Hey, like everything is so perfect and pretty on the outside. Ain't nobody got time for that. Yeah. So nobody, so it seems like less and less, even though we feel like we're connected less and less, does it feel about a real experience in life? Well, you know, like sharing that real experience. Yeah. Well, yeah, it's proven. It causes depression. And then, yeah, but if you, if you're on Facebook, uh, eight hours a day, your penis shrinks. That's just for you guys. I'm just saying. Mine's like down to nothing. Right. I'm just saying. I'm just saying. So, so, um, um, okay. So I just want to get back to, uh, Rose's journey here. Yeah. So, so, so directing a lot of television, L word and you, you, you producing also, you've been producing, you've produced a few things. I was reading about this film, uh, concussion that you, that you, uh, uh, produced and, uh, well, I went, how did that, how did that film turn out? How did it go? What was the, what was the, uh, uh, reception for it? Was that, was that, that wasn't for television, was it? No, no, no, it wasn't for television. It just went to Sundance. Yeah. It's Stacey Passon's first feature. It went to Sundance. Yeah. It went to Sundance. It was in competition in Sundance in 2013. Um, and then we went on to, it, it did well. It was bought by Radius, the Weinstein company. Nice. Um, and then, uh, it was released this past summer. Um, and it was sort of day and date, which means that it was released in theaters and on TV. Uh, and online and at, and pay-per-view at the same day. At the same time, which is the new, the new way. Which sort of is the new model. It was Radius's model for the most part. Right, right, right. Um, and then, uh, it went on to get, we were nominated for a Gotham for Robin Weigert. Oh, wow. Weigert's performance as the lead character, Abby. Abby. Um, and, um, and then, uh, it was, Stacey was nominated for best director. And then we just had the Spirit Awards. We were nominated. And of course we, we lost to the. We, we, yeah, for best. First feature. And, um. That's a fucking big deal. And, you know, but I mean, I, you know, it was, it was hilarious because Stacey and I before. This was this year? Yeah. Just this past Saturday. Just this past Saturday. Yeah. Really? Congratulations. Thank you. Um, but, and then Stacey and I looked at each other as like the category came up and we go, did you, did you even prepare anything? I was like, no, I, I mean, I have no, I don't even have a, I have an inkling that I'm going to go up there because Fruitvale. Right. I knew that Fruitvale station was going to win. But you can also tell by where they sit you. So like if you sit. So we were like, we were like, no, no, no, because 20 feet from Stardom, which was also Radius, this film was right next to us. Oh, okay. Yeah. And they won. Because we went, we were like in the parking lot. Our film was nominated. We, we had to get the valet to let us know when, when they were, when they were announcing the films. I mean, because the camera didn't even bother coming to the table. Yeah, yeah, yeah. And when 20 feet was winning, I'm just like, oh, oh damn, the, like the camera's right there. Are you kidding me? You guys are going to win. Are you kidding me? You're going to win. Rosemary had a fucking conniption. Rosemary had a fucking conniption because she thought, and we were nominated for the John Cassavetes film award. So, so. That's awesome. And that's appropriate. And who was it? Was it, was it Roger Ebert that was announcing the thing? No, no, no. It was Peter Falk, right? Because of John Cassavetes award. And so that year, Peter Falk was giving the award. I would have just been like, ran up there anyway. I thought it was so. Right, right. So, so exciting to me, right? Just to even be like in the category with him announcing the name. So they announced it and, and, and, and Rosemary thought that they, they showed our picture and they were like, oh my God, we're going to win. Well, they air it on IFC. I don't know if they still do. Yes, they do. Okay. So they aired it on IFC. So after the whole ceremony, we went back to the car and I called my sister, right? Because, you know. So how did we look? How was my lipstick? So I said, did you see a clip? Did you see a clip from the movie on TV? And she said, no. And I said, well, what do you mean? You didn't see us on TV? And she said, no. I'm like, well, did you see Peter Falk on TV? And she said, no. She watched, I'm like, you watched, they didn't air that category when they aired the show. So they, and. In a Ben and Spirit Awards didn't air the John Cassavetes Award. Anyway. Yeah, they don't do clips now. Anyway, Rosemary at that point. But they didn't air that award. That's so funny. At that point, Rosemary was driving. We were driving on a wheelchair. So I lost my shit. We were driving on a wheelchair. I did. Yeah, we were driving on a wheelchair past Westwood. And that's what was going on. I said, oh shit. Something's going to blow up. Something's going to blow up. I was punching the dashboard. Oh my God. I like this. Yeah, yeah, yeah, yeah, yeah. That's the. That's the. That's the theme from Ironside. No, well, it's Ironside, but it was used in Kill Bill. That was from Ironside? Yeah, that was Ironside. That was used from Kill Bill. Anyway, so, so, well, congratulations. That's a big fucking deal. Thank you. So, so the film, I mean, I read about the film. I haven't seen it, but it's very interesting. It's about Abby, an upscale housewife married to a woman who becomes a prostitute for other woman, for other women following a head injury, head injury. So basically she's happily married. To another woman. She falls, gets a concussion. She's not happily married. Well, well, she's not. She's just married. She's just married. Okay, got it. So she's married. She's happy. She has a good life on the outside, right? Because she lives in an upscale home and they're probably very successful, but she's not happy. So the concussion is probably the impetus for her to find a fantasy type of happiness. It's almost metaphorical. Right, right, right. A blow to the head. This film sounds like porn to most guys. So you guys go check it out. This, this sounds like. This is a fantasy for most, you know, 18 to 30 year old guys. It's on On Demand. So go check it out. It's on, it's on On Demand. On Demand. Or iTunes. Yeah. Or iTunes. And on iTunes. And just so you guys know, I mean, seriously, I mean, a lot of guys, a lot of, a lot of the listeners I know. I think it's a great date movie, quite honestly. Well. I think it's a wonderful date movie because, and I'll tell you why. I think it's a good date movie for, for, especially for, for straight couples because, because it's a way to discuss sort of perhaps things. There are not fresh in a marriage without implicating yourself because it's, it's a, it's a gay couple. Right. So you're just like, you can like, it can be a subject that you bring up. Oh, without being like, it's not about me. Yeah. It's not about me, baby. Right. It's not, you're not watching Faithful. Right. You know, you're just like, oh no, but I would never cheat on you. Right. It's just like those crazy lesbians, they do that, you know, but like, anyway, it's a, it's a, I think it's a really great date movie. I think it's a good date, dinner, discussion. Well, I think also what's, what's amazing. Um, what's, what's really rare about you as, as a filmmaker, um, and as a person, and I don't know you that well, but I think what's really great is that, you know, someone else directed Concussion and that you are, that you produced it and that you are very supportive and you show yourself to be an example over the years of, of, of a female director that is so supportive of other women around you. And I think that's, you know. I believe in it. I would. I would. I would. I would. I would. I would. I would. I would. And I hope, I mean, it always inspires me and I, you know, it's always the hope that, you know, we talk about, I know, you know, I don't know if Nessar's going to talk about it or not, but gender inequality, this article, whatever, whether we get to it or not, it's just if, if more of us reached out and tried to pull up other people and try to help. Yeah. Yeah. But I think that you're a shining example of that. And I think the fact that that movie is doing well is largely because of your support as well for another talented woman. Yeah. I mean, I, you know. You know, I just think that, I think that we have to kind of help each other and hold each other up, you know, and I, you know, it's just, it's just necessary. I think it's necessary, you know, for, for filmmakers of color. I think it's necessary for women, for any minority filmmaker. It's, it's tough enough, you know, and, and, and I think that we can, especially now, I think that we can make these sort of really help each other with like, you know, like it's like, it's like asking a question, like, who did you do your color time? I mean, did you get a good deal? Like it's sharing information. Right. And there are like, you know. As opposed to somebody being like, I don't know. No, I'm telling you. Keeping all your cards, you know, keeping everything to yourself. You're known for that. You're known for being generous with your time and your expertise and, and, and your opinions about stuff. And you're a very good critic about things. You're not, you're not a hater. Try not to be a hater. Well, no, no, no, no. I met you. I mean. That's an example though. No, she is an example. Yeah, exactly. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. And maybe that'll pay, people will pay it forward. Hopefully. She's known for that. I mean, it's not like, you know, when people talk about Rose Troche, they don't go, they don't go, ah, she's a fucking asshole. They'll be like. Some people do. No, no, no, no. Well, maybe for other reasons, but most people, most people are like, oh, she's cool. She helped me out. Whenever I needed something, I can call her. You know. I knew that Rose Troche, man, she wouldn't do shit for me because I'm a man. Y'all. Which is not true. She's just sticking with her girl homies. I asked her a question one day. She just gave me a hand. Which is, which is, which is bizarre. Anyway. Anyway. So, so with that, let's go into gender, gender equality. Here's a quote. The percentage of women directing, writing, producing, editing, and shooting films has declined since 1998, according to an analysis of the top 250 grossing films of 2013 by the Center of the Study of Women in Television. And film at San Diego State University. And this is in parentheses. The anticipated halo effect from Catherine Bigelow becoming the first woman to win a directing Oscar for 2009's The Hurt Locker never happened. So basically, there was this, there was this hope, especially amongst women directors, for instance, that fuck, a woman won for best, you know, best film, which was Hurt Locker, which was a phenomenal film. I don't give a shit. If it was a woman, a black guy, whatever, it was a phenomenal film. But it just so happened to be Catherine Bigelow. And, you know. I don't know who that gave hope to. It didn't give me hope. Well, I'm saying that was. Let me just. Okay. I mean, for someone. It didn't give you hope. These things are going to. No, I just. Why not? In the same way that I don't think that suddenly since Steve McQueen won that that's going to be like a long line of African-American or. Or slaves. Or British American, you know, or black filmmakers. Or slaves looking to make films. I mean, I don't. I think that these things happen every. Once in a while. And then. And then. And then the doors seem to shut on it. Yeah. Yeah. For a number of years. Right. And I don't know why it trends like that. You know. It's like a token. Like, hey, this is what we can do. We did that. We did that. Let's. Right. Yeah. And like, you know, like the. Because then they can point to that. They can say, oh, well, we're not sexist because she just did this movie. It's like the New York Haley Berry one. And there were. There were two. It was Haley Berry and Denzel Washington. Yeah. They both won the same year. And then that's. And that's outstanding. But does it open it up for. Right. For everything? You know, now that it happened once, is it going to happen again? Like, when are we going to see another, you know, mixed race president? I don't know. You know. When are you going to. I mean, even. This is it. Another like 20 years or so. Even with little things like the L word. Like, when are you ever going to see a show like the L word come on? How long did the L word run for? Six seasons. And it was. Wow. It was, you know, immensely popular. But. And you would think that someone else would pick up. Pick that up and run. And run with it. But it doesn't. It doesn't really happen that way. Yeah. Like a cartoon series for Nickelodeon. Yeah. And so, Catherine Bigelow. And also, like, you know. And also because I think, you know. And she's a, you know, she's a filmmaker. She's a woman. But she's a filmmaker who also does, you know. Her work is, would fall. You know, gender wise. It would fall more under the category of guy film. Right. Right. And. That's in particular. Yeah. Traditional women's narratives are sort of kind of looked. You know, they're sort of like the, you know, the redheaded stepchild. You know, they're just like, oh, it's a lady. It's. It's a flick. And I know that Cate Blanchett got up there this year and said. Right. Look, people want to see these movies. Right. And I love her for saying that. The world is round, people. Right. But do people want to see, you know what I mean? Well, well, I mean. These movies. I mean, you want to talk about chick films? They fucking seem to do great. Whenever you see these stupid romantic comedies. I mean, you. I mean. I mean, those are date films. Chick films. Those are not fucking, you know, hairy ball scratch your ass guy type of films. As far as I'm concerned. And usually directed by men. Right. Right. But, but, but that's just, but that just goes to show that. I think more guys will go, more women, excuse me, more women will go see movies that guys want to go see. Absolutely. Then women, then guys will go see women's films. Like when men will just dismiss a movie. I'm not going to see that movie. Well, we, we, we've learned from a very young age how to enjoy a movie. How to identify with a male character. How do women, women do that? Because, because otherwise we're not going to get pleasure out of most cinema. As I'm sure. As I'm sure minorities do with white characters. Absolutely. You have to just see the humanity of it. And if you go by the color of skin, nobody will see anything. Right. Like when I watched Star Wars, I didn't identify with Darth Vader. I identify with Luke Skywalker. I just imagined him being my Puerto Rican grandfather. Even though my Puerto Rican grandfather was a little light skin, you know. Yeah. I looked something up here and. You did? I did. Yeah. And believe it or not. You did? If. Ain't nobody got time for that. I know, but you're going to hear it anyway. Yeah. Because Jezebel.com. Jezebel. Has a thing on here. And it says here that there is only one film, female film director for every 15.24 male ones. And they aren't getting any better. And there's an independent study called Exploring the Barriers and Opportunities for Independent Women Filmmakers. It was done by researchers at the Annenberg School for Communication and Journalism at the University of Southern California. And it assessed 11,197 directors, writers, and producers. And it assessed 11,197 directors, writers, and producers. And it assessed 11,197 directors, writers, and editors. And it assessed 11,197 directors, writers, and editors. Whose movies screened in Sundance from 2002 to 2012. 28 or 29.8% of filmmakers, directors, writers, producers, just filmmakers in general were female. Just 20, 29%. Yeah. And it says here. Yet there are more women in film school. Right. Right. Well, at least they're not in Betty Crocker cooking school. I mean, that's an advancement. You know what I mean? And this is exactly what you said. It says women are more likely to be producers. And as the roles become. More high profile. And money becomes a factor. The number of women goes down. So women are more likely to be associate producers than producers. Right. As the money goes up. You know. And women support women. Films directed by women feature more women in all roles. Let me. This is a pretty interesting article. If you just tune in and you listen to Nestorius Public Radio live every Thursday night from 9 to 10 p.m. Here on skidrowstudios.motherfucking.com. Nestorius. We're live. We're on video. You can go to skidrowstudios.com. On the top it says live video. Click on the link. You'll see us live. We're here. Live and direct. If you're near a phone and you want to talk. 1-800-893-9562. 1-800-893-9562. And we're talking to Rose Troche. A.K.A. Rose Troche. And Rosemary Rodriguez. Rich Carbon. Of course. Your boy. Your boy. Holla. At your motherfucking boy. Peace. This is Common. And right now you're checking out Nestorius Public Radio. Y'all stay in tune. Love. That's right. So I wanted to. I wanted to do this quote. From Jody. Foster. Which kind of like. I kind of alluded to it the other day. So Jody. Earlier. Not the other day. To me. As a Puerto Rican. Earlier means the other day. Because. You know. Shit happens. I'm so punctual. Slow time. So Jody Foster told the LA Times. That when men hire directors. They say to themselves. I'm going to hand over 60 million dollars. To somebody I don't know. I hope they look like me. That's what I was saying earlier. She also criticized. Risk averse. Female studio executives. Who regard female directors. As too much of a risk. And I've heard that also. Where. You know. Again. You think that there's a female. Studio executive. At the top. That you're going to have. A better. Understanding. And as an in. And it's the complete opposite. It's. And it's almost like. The minority syndrome. Right. Yeah. So. You're Puerto Rican. You think. Oh. The police officer's Puerto Rican. He thinks he's Boricua. He might give you a break. On the contrary. He's going to treat you. Worse. Even worse. It's going to be like. Right. Yeah. I mean. I remember that. I mean. I grew up in Chicago. So that's like. And I remember that specifically. Yeah. Oh yeah. That example. Oh yeah. From like. I'd be like. I'd be like. Are you kidding me? Yeah. You're acting more white. Than that dude's doing. Yep. And like. And you're treating the white dude. With a little bit more respect. And we're both Puerto Ricans. Like what are you doing? That's right. Black police showing out for the white cop. Yeah. Yeah. Well there's this. There's this article too. That I was reading the other day. Yeah. In the doctor's office. In the waiting room. It's from Entertainment Weekly. And it's talking about the same issue. And it's. It's talking about this woman. Producer. Nina Jacobson. Who says. She's been seeking a director. For an adaptation of the bestseller. Where'd you go Bernadette? It says. It says. Few women have applied. Which makes it tough. If you're looking to give female directors a break. If the percentage. This is a quote. If the percentage of available talent is small. Then the percentage of serious candidates is small. Jacobson says. It's hard to break the cycle. So I'm just curious. I never heard of that project. Nobody. Ever. Did anyone come to you with that project? Like. She's looking for. So I'm just curious. How that even happens. They called me. They called me a couple weeks about that. I told them I was busy. I was doing this. Sorry. It's public radio. I told them to put an ad out on Craigslist. So I mean. You gotta be on Craigslist. You gotta look on Craigslist. But I think it's hard. When people put things out there like that. Well. You know. The percentage of available talent is small. It's like. Right. People have this myth. That there's not that many women directors. Period. There's a lot of us. It's a catch 22. Why is it small? Why is it small at that level? But it's not even small. Because nobody's hired at that level. Right. Right. It's like. There's a small number of working directors. There's a lot of directors. Oh yeah. But they're unproven. Or they. Or unbankable. At a certain. At a certain. Or they get. At a certain amount of money. Yes. You're gonna get less and less women. And less and less. The more money. The less you're gonna hand that chunk of money over to a woman and say. Hey. Correct. I want you to do my movie. Right. You know. Right. It's like. We're. You know. But. And. And part of me doesn't like ever talking about this. Because it so. Is the way it is. It is the way it is. And we. But we do have the opportunity of making films now. Just like you made your film. Yeah. Sure. It's not as glamorous. But man. If you have something to say. And you want to make your films. Yeah. You can do it. We can do it now. Yeah. We have the technology. And we have to help each other. Yeah. And we do have to help each other do it. Yeah. And there's like. You know. There's like. There's like groups that have. That have come up. There's like. You know. Leah Meyerhoff. You know. A group of. That meet every month. Called Film Fatales. And like. You know. And. And you know. And there's like lists that are made. Of like vendors. And people that we want to work with. And like. You know. And there's. And it's all about shared information. And it's all about like. Sort of building. You know. A community. And I think that. I think that that's something. That we're doing to help ourselves now. Building a community. El servicio. The national public radio. Si ustedes están en la casa. Metido en. Están. Escondido. Debajo de la mesa. You are fucked up. Wake up my friends. Anyway. One more quote. Get up from under the table. I do that shit. Get up. Get up from under the table. Wake the fuck up. Wipe your eyes. You know what I'm saying. Invest in some dental floss. You know what I mean. Brush your teeth from the top to the bottom. And the back to the front. You know what I mean. Make shit happen man. Wake the fuck up. You know what I mean. And one more quote. Alright. One more quote. I kind of like this one. This is. This is. From the chairman. Of Sony Pictures Entertainment. Amy Pascal. She said that. She learned from Gina Davis. Who runs an institute in LA. On gender and media. That the most important thing. Is having female protagonists. It doesn't matter. If they're a villain. Or a hero. It just matters. That their actions. Have consequences. So you have. You know. Female. Identification. As opposed to what you were saying. Earlier. That as a woman. There aren't. You have to. You wind up identifying. With the men. So that's. So that you can have. At least some sort of. Identification. Because. If you're watching. That particular kind of movie. Right. You know. Or even if you look at TV shows. When you think about the. Protagonists. Lately. You think about. Don Drapers. The Walter Whites. And all these characters. That are really. You know. Questionable morality. And not likable people. But it's okay. Because they're white guys. Yeah. I'm just curious. I'm also. I mean. I'm just curious. Talk about the L word. To see. You know. A show. With a female. Protagonist. That is not likable. And see it succeed. In the same way. Yeah. I'm just waiting for that. Yeah. Right. Nurse Jackie. Probably comes closest to that. I mean. I mean. She's still likable. But she's. She does some fucked up things. On the show. But she's a really good nurse. And she takes care of people. Yeah. She has all those. Yeah. And it's. And it's Edie Falco. So. You know. Well. She rocks. Well. Edie Falco can't. You know. I love that show. But that's a good. That's a good point. She's probably the closest you get. Right now. You know. Yeah. Yeah. So. Anyway. So. I read this article. Two little. Two. Two articles. Well. I'm going to. I'm going to start with the men. Since we're talking about. Women and men. I'll. I'll. I'll. I'll do the men. So. Some Brooklyn hipsters. With patchy beards. Are getting facial hair transplants. To give them fashionable. Lumberjack style. Beards. I'll sell them mine. I got plenty. Full beards. Full beards have become an important male identifier. Said Dr. Jeffrey Epstein. A plastic surgeon. Who performs the $8,000. A transplant. One of the best investments. I've ever made. A now full bearded customer. Told the New York Post. All right. So. Oh. I think. Hey. Oh no. That is fucking disgusting. He should have spent that money on another MacBook. $8,000 on fucking beard transplants. He's not going to have enough money to hang out at Starbucks anymore then. Yeah. You know. Yeah. I'm glad we're together again. Where do you think they took the hair from? Their ass. But on a plate. When you don't have hair on your face. You got to go to the ass. That's the most bristly hair that you have on your body besides your face. I mean. I mean. I mean. The closest thing to human facial hair is ass hair when it comes to a man. But do you think that makes a guy feel more macho? I think that's what it's coming down to. But I think that there's a. Would they. Would you think that guy is telling anyone that he paid for the beard? Absolutely not. Absolutely not. And. And. And. He's just drinking his PBR on a corner. Well. Well. Well. The good thing. The good thing about it is that it's not that obvious as opposed to hair transplants and stuff like that. You know what I mean? Like you. You. You don't have to explain a beard because a beard is a beard. My. My. My facial hair. No one's. No one's facial hair grows perfect. It doesn't grow even. I have spots on my face that don't grow. And some people just don't look good in beards. You know what I mean? But in general, does that make you feel less of a man if it doesn't grow perfectly? I. You know what? Does it feel weird? To be honest with you, I always look at them and I go, man, why did you have to do that to me? I always want my hair to grow down on my sides, like to have full lamb chops. And they never like beard envy. Yeah. Because you're Puerto Rican. Yeah. And I go, man, why? It took my brother until like, like, like 30 years to grow this little bit between here and there. Right, right, right, right. That dude's going to be, you know, those guys that are paying that much for that beard, they're going to be pissed when, when the beards are out of fashion and they have to start shaving that shit. Cause it, a couple of years ago, it was just mustaches with these hipsters. Now they went in the full beard. When they start having to shave that shit, they're going to be pissed off because I spent $8,000. $8,000. I never had to shave. Now I got to, I fucking hate shaving this thing. Me too. I seriously hate this. He probably doesn't have to shave. Well, what is it? The guy who just bought his beard. He doesn't, but when it comes out of, when it comes out of, uh, uh, when it falls out of fashion, then he's going to have to start shaving again. When the hipsters turn into whatever the next level that they turn into, they're going to, you know. Yeah. The next level that they turn into retards. They're always changing those hipsters. Which is about two weeks after they spend $8,000 for their fucking beard, they go to the next level. Retards. That's what they're called. You know what I mean? They're going to start growing their armpit hair out. I think that's called having too much money to spend. They're just going to cut out the bottom of their shirt just to make a point and grow their armpit hair out and braid it. Just like those tails that people used to have. Yeah. Oh, back in the day. They used to do some fucked up thing because they used to get a DA and then used to have a long hair. That's what happened to that. That's just their teenage. A mullet. A mullet. No, no, no, no. It was just with the tail. It was a tail. It was a tail. It was a tail. It was a tail. It was a tail. You had to go around with a pair of scissors and cut all those off. But that was a big thing. I had a tail. Oh, yeah. I was so anti the tail. I grew one on my front. No, no, no. You had a tail. No, no. The girls, females loved it. In like 1987, you'd go to Studio 54 in the middle of the dance floor. You had a tail. Everyone would be touching and you'd be like, oh, shit. And in the back of your head, you're going, in about 20 years, I'm going to have beard envy. And I'm going to be wishing I had $8,000 that I could pay for somebody to give me a beard change. I'm going to have a transplant. Oh, I should cherish this moment now. Anyway, so on the flip side of that, there's this chick, of course. And I don't know if you saw the picture. Yeah, that's some brainy stuff right there. You saw the picture? So, okay. So a California woman is getting plastic surgery. Duh. Like, that's a fucking. That's weird. Yeah. To become a real life Barbie and hypnotherapy to make her as dumb as a dog. I just want to be the ultimate Barbie, said Blondie Bennett, 38. Being brainless. Is a big part of that. Bennett has spent over $41,000 on plastic surgery, lip fillers, and Botox to make herself look like a giant busted toy. And is now having weekly sessions with a hypnotist to convince her she's a vacant bimbo. I'm already starting to feel dizzy and confused all the time. Dizzy. Dizzy. Dizzy. Oh! She's wasting time on that therapy because she's already pretty fucking, you know, pretty empty. Yeah. She's already. Pretty empty already. Not much going on in between the ears. Come on. When you're doing that, that's your like, that's your defining moment. You were talking about things that define you. Well, I think this is all, you know, what is masculine and what is feminine. And Barbie doll is clearly something we all grow up with. It's like the feminine ideal. Right. Of like, this is what our body is supposed to look like. Right. And so she's taking it into a place that. Into a realistic perspective. Most of us don't go there. But a lot of us go to some, some innermost. Image of ourselves. Yeah. Yeah. That would be trying to be like that. Yeah. I'll be posting a picture of Miss Bennett underneath my Skid Row Studios NPR, Nestorius Public Radio post for this episode. So, you know, just so you know, a lot of times I post pictures of things that are relevant to the articles or things, subjects that we're talking about. But yeah, most people. So you can see this fucking, this woman is out of her mind. She looks like she has like 48 triple G's and shit. Yeah. Or something to that. Well, they literally look like two dodgeballs. Yeah. Yeah. I don't know. I don't know. You know, I think if you can talk about this and use her image as a way to open conversation as a use. About a healthy dialogue about what it, what does a woman look like? Who wants to be touching up on those? Nothing. No one. But maybe she's doing it to keep people away from her. Well, obviously she's looking, she's looking to just be adored and admired. You don't use those in a sexual way. Because that's not sexual. I mean, because you gotta be. Yeah, that's not sexual. That's very. You can't. You can't do anything with those. No. Really. That's not sexual. You can put your penis in. And I mean. Yeah. I guess. Yeah. You could give her a pearl necklace and all that. But then. Yeah. You know. She looks like a Barbie doll that's been left out in the rain. And. No, she doesn't look like she's been left out in the rain. Like she's been like in the dirt. But I don't really think. I don't really think. That's not the point though. Just slamming her and judging her. I think, you know. I'm a dick. There's a good reason to talk about her. No. I mean. I'm just saying. I feel bad for her when I look at that picture. I just feel like. I feel bad for the hipster that spent $8,000 for a beard. Well, I feel bad for him too. The more disturbing part of this is the wanting to not. Yeah. She's putting herself out there. She's open to ridicule. I mean. Some people are going to like her. Are people on heroin also trying to. But can I tell you something? This is a trend that's happened in Japan where a lot of women have done a plastic surgery and all sorts of artificial on their eyes. So they're making them look like anime. Like. Like Japanese anime dolls. So that's, you know. That's the thing of the future. You know. The next thing is. If you're out there and you feel like you have a lot of intelligence. You have. No. Too much knowledge. I don't know if anyone listening to this has a lot of intelligence. And you're tired of this. What you do is you give me a call. You pay $4,000 an hour. And I'll make you feel like a fucking bimbo. I'll empty out all of your knowledge. I'll make you fucking walk out of your couch. As if you have one. Crane. Full of carbon monoxide. Okay. I'll do that for you for nothing. Anyway. So real quick. I just wanted to touch on the Oscar. The Oscars. I'm not sure if anybody saw it. It was a great show. Did everybody see. My favorite thing was Ellen calling in the pizzeria. The pizza guy. The guy comes out. He's giving people pizza. And you're thinking. Is this real? But in the back of your mind you're thinking. It's Ellen. So it probably is real. She does shit like that. Right? Yeah. And it turns out the guy was real. He has. He has. She has him on her show the next day. And you know. She was collecting money. And she should give him a tip. I thought that was cool. I thought that was great. That was cool. And then the other. He made some coin. Oh he did. Yeah. Well she said she collected $600. Then she pulled out $400. Yeah. She put like $400 to it. And said here is $1,000. And he was on the Oscars. And he was on the Oscars. He was probably an actor too. And he was an owner. No. No. He owned it. He owned it. Oh yeah. Yeah. He and his brother owned it. Oh that's cool. Good on him. Mamas and Papa's Pizzeria. Big Mama. Big Mama and Papa's. That place is good pizza. It's pretty good. Well they must have just bought it. Because that place wasn't always Russian. You know. These two guys probably bought it. We used to get Big Mama and Papa pizza in Burbank. They had one in Burbank. Okay. So it's a franchise. We used to get that back in the 90s. It was really good. My friend. My friend. My friend. Unfortunately it's not up to par as it used to be. Oh really? The pizza? So the thing was that. That's Jenny talking. Sorry. That's okay. I just had to. That's okay. Update. Pizza update. Fuck you. I am Persian. I fucked my own ass. I wrote like a note over the box that we have of coupons that are on the fridge. Oh yeah. And you said Big Mama and Big Papa sucks ass? Yeah. Got it. Their delivery. It was over an hour and a half I was waiting for pizza. What? And then I called them and they were like oh we'll be there in 20 minutes. Right. And I called and I was like okay I'll wait you know 20 minutes. So it was an hour and 20 minutes already. And then minutes passed by and I called back and they're like oh we'll be there in 20 minutes. And I'm like just cancel my order. Right. They didn't cancel it. They ended up charging it. So I had to work it out with my bank. Oh no. Wow. So I have a terrible experience with banks. So you use a debit card. That's why you have to work it out with your bank right? Correct. Don't ever use a debit card. Always use a credit card. Well they're lucky. They're lucky you showed up. Use your Amex. Get a credit card just for assholes. Well mine can go for both credit and debit. Yeah but get a credit card not a debit card because once they take the money out of your bank then the money's out of your bank. Then you got to fight. Yeah. When it's a credit card. It wasn't. My bank is good. Yeah. They helped me out. I got it quick and everything. But I was just like. What bank do you have? Wells Fargo? No Chase. Chase. Chase is good. Chase is good. You should try Bitcoin next time. Chase is good. Okay. Chase is good. I mean as far as a bank. I'll go for a credit union. And they stand by you. Yeah they help me out. Every time I have a problem. I'm looking into credit unions. That's good. Every time I have an issue or late charge or whatever they always take care of it for What's a good thing they didn't keep Ellen waiting an hour? Yeah. I was surprised that they were the ones that ordered it. I don't. And you ordered from right here? Yeah. The one that's like two blocks down. I could just walk. Wow. You could have gotten it. Oh man. But that's the difference because Hollywood after a certain time. No one's ordering. He said on her show that. You know what I mean? When he ordered it he said that he got a call that it was for some writers. Some television writers. So that's all he said until he showed up. He didn't know. I said I was calling from Skid Row Studios and they didn't do anything. Well that was the problem. Right there. Okay. So Oscars. Is this Oscars? No it's not the Oscars. Okay. So we're going to wrap this up. So Rose what are you working on? What's going on? What are you doing? I'm working on a. I just did a month at Yaddo which is an artist colony and that was really amazing. Oh. And fun. Yaddo. Yeah. Yaddo. So that was just like. Where is Yaddo? It's in Saratoga Springs. New York. Yeah. And it's very highfalutin. People. I'm sure when Capote used to go there a lot. People are blowing each other to try to get into the artist community. You write or whatever. You propose a project. You propose a project. You have like drum circles and stuff or you. We don't do drum circles. No. But maybe sometime at some point. Do you have massage circles? No but I'm sure people used to. We'll talk. We'll talk. We'll talk about. We'll talk about Yaddo on another thing. So what else are you doing? So then. And. You're going to India for the Sundance Lab. For the Sundance Lab. For Bangla. Yeah. What are you going to Mumbai? And then. And then I'm going to make Wendy drinks beer for breakfast. When I get back. Which is my. Wendy makes beer for breakfast. Drinks beer for breakfast. Drinks beer for breakfast. Wendy drinks beer for breakfast. That's your next film. That's my next film. That you have in. You've written it. You've penned it. I've written it. I've penned it. Yes. And it's just waiting for you to have the free time to do it. I've got the budget and sketch. All right. Yeah. There's a part for an angry Puerto Rican. Let me know. I stab motherfuckers in the neck. That's behind the camera. Yeah. The angry Puerto Rican. Yeah. Yeah. I'm just saying. You never know. If you need a red haired step cousin. You're in the. You're like towards the tail end of post production of. Just finish cutting Silver Skies. Got it. Okay. Well. Good. Good. Silver Skies. Pictures.com. I believe we're. Facebook.com. Forward slash. Silver Skies. Yeah. Like it. Check it out. Anyway. Nestoriuspublicradio.com. Facebook. Nestorius Public Radio. Holla at your motherfucking boy. Every Thursday night. 9 to 10 p.m. Pacific Standard Time. Midnight to 1 a.m. Eastern Standard Time. You know what I'm saying? Word. Word. Word. Yeah.! Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word. Word.